A fine introduction to the short prose of a modernist master.
Appearing for the first time in English translation, these stories describe the struggle to find happiness and meaning in one’s life.
Gazdanov (The Spectre of Alexander Wolf, 2013) was born in St. Petersburg in 1903; during the Russian Revolution, he fought with the White Army before fleeing to Paris in 1920. There, he worked a series of more or less menial jobs, the longest lasting as a late-night taxi driver. When the Nazis occupied Paris, Gazdanov joined the Resistance. As for his writing, it has long gone overlooked, but a recent revival has begun to shower Gazdanov with the attention he deserves. This latest translation of his work into English collects a number of stories from Gazdanov’s early and late career, edited and arranged by his translator, Karetnyk. The collection is neither comprehensive nor representative, but, taken on its own, it forms a lovely little introduction to Gazdanov’s work. The stories range in date from the early to late 1930s; the last two were written in 1962 and 1963, respectively, just before Gazdanov’s premature death. In “Happiness,” a 14-year-old boy observes his new stepmother with suspicion; in “The Mistake,” a young woman grows bored with her husband’s “callous estimations of people, although they were almost always proved right”—to escape the tyranny of his “monstrous” intellect, she dives into an affair. In Karetnyk’s excellent translation, Gazdanov’s prose appears at the height of elegance. But as these stories reveal, that elegance can belie a certain heavy-handedness in theme and worldview. In “The Beggar,” Gazdanov describes “an old man in rags” who lives in a crate on the outskirts of Paris. No one would guess that he’d once directed one of the city’s wealthiest firms. “When everything he was obliged to do wearied and vexed him…he did retain one desire—freedom.” Gazdanov’s equation of homelessness with freedom may have aged badly, but his critique of power and wealth is more relevant than ever. We’re lucky to have these stories.
A fine introduction to the short prose of a modernist master.Pub Date: Sept. 25, 2018
ISBN: 978-1-78227-401-8
Page Count: 224
Publisher: Pushkin Press
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.
Pub Date: March 28, 1990
ISBN: 0618706410
Page Count: 256
Publisher: Houghton Mifflin
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 15, 1990
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
A newcomer to watch: fresh, funny, and tough.
Seven stories, including a couple of prizewinners, from an exuberantly talented young Thai-American writer.
In the poignant title story, a young man accompanies his mother to Kok Lukmak, the last in the chain of Andaman Islands—where the two can behave like “farangs,” or foreigners, for once. It’s his last summer before college, her last before losing her eyesight. As he adjusts to his unsentimental mother’s acceptance of her fate, they make tentative steps toward the future. “Farangs,” included in Best New American Voices 2005 (p. 711), is about a flirtation between a Thai teenager who keeps a pet pig named Clint Eastwood and an American girl who wanders around in a bikini. His mother, who runs a motel after having been deserted by the boy’s American father, warns him about “bonking” one of the guests. “Draft Day” concerns a relieved but guilty young man whose father has bribed him out of the draft, and in “Don’t Let Me Die in This Place,” a bitter grandfather has moved from the States to Bangkok to live with his son, his Thai daughter-in-law, and two grandchildren. The grandfather’s grudging adjustment to the move and to his loss of autonomy (from a stroke) is accelerated by a visit to a carnival, where he urges the whole family into a game of bumper cars. The longest story, “Cockfighter,” is an astonishing coming-of-ager about feisty Ladda, 15, who watches as her father, once the best cockfighter in town, loses his status, money, and dignity to Little Jui, 16, a meth addict whose father is the local crime boss. Even Ladda is in danger, as Little Jui’s bodyguards try to abduct her. Her mother tells Ladda a family secret about her father’s failure of courage in fighting Big Jui to save his own sister’s honor. By the time Little Jui has had her father beaten and his ear cut off, Ladda has begun to realize how she must fend for herself.
A newcomer to watch: fresh, funny, and tough.Pub Date: Jan. 1, 2005
ISBN: 0-8021-1788-0
Page Count: 224
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2004
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